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Historic photographs from the 1993 Zapatista meeting in Chiapas, MexicoPresented here for the first time are photographs by photojournalist Bruno Serralongue of the First Intercontinental Meeting for Humanity against Neoliberalism--organized by the Zapatistas in Chiapas, Mexico, in 1996--where 3,000 visitors from 42 countries engaged with indigenous populations in collective debate.

Showing how the still life has been renewed by recent developments in photography, Obstinacy of Things includes work by Moyra Davey, Tacita Dean, Harun Farocki, Hans-Peter Feldmann, Annette Kelm, Elad Lassry, Zoe Leonard, Laura Letinsky, Sharon Lockhart, Barbara Probst, Lucie Stahl, Andrzej Steinbach, Ingeborg Strobl, James Welling and Christopher Williams, among others.

A unique reception history of the Bauhaus, from the Weimar era through the Cold WarWhen the Bauhaus departed Dessau in 1932, there was no Bauhaus collection left in its wake. Apart from the files in the city archive, some works in the Anhaltische Gemäldegalerie and artworks in private hands, there were no other extant documents and objects in Dessau. Today, there are more than 50,000 objects and documents in the collection of the Bauhaus Dessau Foundation--the product of an extraordinary East German effort to reconstruct an archival history for the Bauhaus undertaken in the midst of the Cold War. A Progressive Bauhaus Legacy: The Development of an East German Bauhaus Collection tells the story of this collection from its beginnings in the 1970s and analyzes the institutional procedures and political pressures that shaped it.

Estonian artist Marge Monko's (born 1976) work focuses on the role models given women in advertising. This book accompanies an exhibition of two groups of works: one features her own photographs paired with found pictures from advertisements, and the second examines a female-centered branding campaign by British diamond company De Beers.

On Photography traces the artistic and institutional decisions that have influenced the Camera Austria association. Since its founding in the mid-1970s as an association of Austrian photographers, the group has had an important place in the European photography world, putting on exhibitions and symposia on topics in photography and, since 1980, publishing the magazine Camera Austria International. Operating through a network of photographers, academics and art critics from all over the world, Camera Austria has come to function like a laboratory shaping photographic culture. At the center of the book are the photographers that Camera Austria has worked with, whether in exhibitions, at symposia or in the magazine--among them Robert Adams, Nobuyoshi Araki, Lewis Baltz, William Eggleston, Hans-Peter Feldmann, Seiichi Furuya, Luigi Ghirri, David Goldblatt, Nan Goldin, Zofia Kulik, Tatiana Lecomte, Susan Meiselas, Peter Piller, Walid Raad, Michael Schmidt, Allan Sekula, Ahlam Shibli, Lieko Shiga, Manfred Willmann and Tobias Zielony.

An ex-pat's photographic homage to the dissonances of word and imageIn 2011 the American photographer and Errata Books publisher Jeffrey Ladd (born 1968) moved to Cologne, Germany, and began photographing his surroundings while learning the basics of the German language. In the process, he collected lists of interesting German vocabulary words (professions, places, things, common terms and outdated terms), which he juxtaposes with his black-and-white photographs; two different types of language--one visual, one verbal--describing a sense of his new home. Borrowing its title from Mark Twain, The Awful German Language embraces a state where the combination of word and photograph can resonate or remain dissonant and confused depending on the individual reader. An index of definitions in English at the back of the book is provided as a learning tool, but one that requires some work on the part of the learner to decipher its code.

Untold migrant stories, gathered from archives by German artist Cana Bilir-MeierMunich-based filmmaker and artist Cana Bilir-Meier (born 1986) draws on public and private archives to speak to the migrant experience through film, drawing, performance and audio. Bilir-Meier's first monograph is published for her exhibition at the Kunstverein Hamburg.

This book documents Radio Revolten, the international radio-art festival in Halle, Germany, which took place in October 2016 and featured an independent station, installations, live performances, conferences, workshops and public interventions.

Since its founding in 1946 by the composer Karl Amadeus Hartmann, Bayerischer Rundfunk's Musica Viva in Munich has been one of the most prominent concert series on the international contemporary music scene.Numerous experimental works and performances for orchestra and chamber music receive their premiere at Musica Viva.From the start, Hartmann wanted to create a forum for the musical language of his times, and thus sought a design identity that would reflect this. Graphic designer and design scholar Günter Karl Bose has been working for Musica Viva for 20 years; his concert posters have had a major influence on the look and feel of the series, reflecting his intense visual exploration of contemporary music. This volume gathers his superb work for Musica Viva.

From Josef Albers and John Cage to Charles Olson and Robert Rauschenberg, the teachers and students of Black Mountain shaped postwar cultureFounded in North Carolina in 1933, Black Mountain College ranks alongside the Bauhaus as one of the most innovative schools of the 20th century. Inspired by the forward-thinking pedagogical ideas of philosopher John Dewey, the experimental, interdisciplinary college combined the ideas of radical European modernism with the philosophy of American pragmatism and teaching methods designed to encourage personal initiative as well as the social competence of the individual. Visual arts, economics, physics, dance, architecture and music were all taught on an equal footing, and teachers and students lived together in a democratically organized community. The second director of the school was Josef Albers, and John Cage, Merce Cunningham, Buckminster Fuller, Walter Gropius, Franz Kline and Charles Olson were among its teachers. As a result, the college played a foundational role in the development of a range of avant-garde practices, and exerted an enormous influence on the development of the arts in the second half of the 20th century. Briefly out of print and quickly becoming a sought-after book, this gloriously designed and illustrated volume was first published for the exhibition An Interdisciplinary Experiment, 1933-1957, held at the Nationalgalerie im Hamburger Bahnhof in Berlin. It remains unrivaled for its sympathetic design and fulsome documentation. A profusion of archival materials--including photographs of classes in progress and college housing with its Albers-designed furniture, and page spreads from college bulletins and issues of Robert Creeley's Black Mountain Review--is presented alongside contemporary essays. Happily back in print, Black Mountain: An Interdisciplinary Experiment 1933-1957 traces the key moments in the history of this legendary school.

Berlin-based photographer Andrzej Steinbach's (born 1983) Der Apparat (The Apparatus) shows a photographer taking photographs. We follow all the steps in the process: how she assesses her subject, how the camera behaves in relation to the body. The session is recorded in a laboratory situation. This is the third and final part in his portrait series.

Essen's Museum Folkwang has assembled the first museum exhibition of the work of German filmmaker, writer, philosopher and artist Alexander Kluge (born 1932) to mark the occasion of the 85th birthday of this artistic polymath. Kluge is primarily known to American audiences as a filmmaker and writer. But he has never been satisfied with confining himself to a single art form, and he has not confined himself to a conventional model of single authorship either. Collaboration has long been a central principle in Kluge's work, conceived as a process of "thinking together" with artists and writers such as Thomas Demand, Georg Baselitz and Ben Lerner. This comprehensive survey, developed in close collaboration with the artist, introduces Kluge's artistic "pluriverse," illustrating his most important methods, themes and conceptual approaches through a central focus on his filmic collages and collaborative work.

A photographer and an architect analyze the return of classical architecture in Skopje, MacedoniaSwiss photographer Susanne Hefti and Zurich-based architect and curator Damjan Kokalevski examine the recent surge of classical-style buildings in Skopje, North Macedonia since 2014. Skopje Walkie Talkie illustrates how populist and nationalist power structures are changing public space in the Macedonian capital.

Images of Hong Kong's economic and social contradictions by Volker HeinzeIn January 2016 Hong Kong was selected for the sixth time in a row as the world's "freest economy" by America's Heritage Foundation and the Wall Street Journal. In six densely composed sections of images--from "Heart of Gold" to "Dystopian Confusion"--German photographer Volker Heinze recounts "the Chinese gamble on greed.

Look at Me! examines how private collections change over time through a case study of the Hanten-Schmidt collection. Sasa Hanten-Schmidt, one half of the collector couple, retraces the genealogy of the collection and describes how she and her husband plan to take it forward into the future.

Croatian installation artist Ivana Franke (born 1973) investigates processes of human perception and confrontation with the unknown through an installation at the Ernst Schering Foundation, using light, reflection and darkness.

The Manual of Travelling Exhibitions, published by UNESCO in 1953, was a handbook on organizing touring exhibitions. It was conceived by Elodie Courter Osborne out of her work as head of the Department for Circulating Exhibitions at The Museum of Modern Art, New York. Aiming her book at museums and other public institutions, Courter formulated a "grammar" of exhibitions, ranging from organizational questions to reflections on exhibition design. Re-reading the Manual of Travelling Exhibitions reproduces the page spreads of the original, annotating them in its margins and adding contemporary critical commentary. In the information the book includes (and leaves out), its design and the photographic logic of its images, the manual now reads like the manifesto of a modernity whose continuity was still unbroken in the immediate postwar period.

Deux Soeurs is a compilation of images from Lomé, the capital of Togo in West Africa, which Leipzig-based photographer Tobias Neumann (born 1982) visited regularly from 2009 to 2017. Two young sisters constitute his starting point: their gaze directs him through the city.

New York-based German artist Julian Irlinger (born 1986) investigates the relationship between the economy, the public and art in the digital age. In Props, he creates montaged images of the Frick Collection in New York by combining stills from virtual tours, commissioned photographs and Google images.

365 Days of Invisible Work contains 365 images collected and compiled by the Domestic Worker Photographer Network. Members of this open network took photographs of themselves and others as gardeners, dishwashers, domestic workers, mothers, interns, artists and illegal immigrants--generating a collective and political representation of domestic space and work as seen through the eyes of contemporary amateur photographers.365 Days of Invisible Work is the third edition of the Werker Magazine series initiated by the founders of the Werker Collective, Marc Roig Blesa and Rogier Delfos. It was conceived as part of the Grand Domestic Revolution, a "living research" project by Casco - Office for Art, Design and Theory, Utrecht, that ran from 2009/10-12. The Werker Collective's practice is inspired by the Worker Photography Movement of the 1920s and '30s, and looks into ways of reactivating the movement's working methodologies, based on self-representation, self-publishing, image analysis and collective learning processes.

Arne Schmitt's (born 1984) new photobook is devoted to a single material--basalt, a volcanic rock that has been mined for thousands of years in the German Osteifel quarries of Mayen and Mendig. Its hardness coupled with its porous structure made it an ideal raw material for millstones, and it thus became a commodity that was traded far and wide. In the Osteifel region local houses were built from basalt. In the boom years that began midway through the 19th century, an entire construction culture developed around the material, with the result that on many streets the houses still have a matt dark-grey appearance. Schmitt's black-and-white photographs juxtapose the different states, treatment processes and applications of the rock. These features bring into focus its transformation into a cultural product.

En plein air--painting outdoors--traditionally describes the impressionist revolt against the studio. This book compiles texts by media scholars, scientists, artists, anthropologists and theorists exploring the concept of en plein air in terms of the digital, a realm with ever-evolving boundaries.

You and Me follows the story of a Bosnian-born refugee who lived in Düsseldorf in the 1990s before moving to the US.The photobook sets up links between Bosnia, Germany and the US, while also providing a contextual frame for the artists and their relationship to the past.

On 9 December 2016 the Architectural Association in London hosted The Bedford Tapes, an event that brought together architects and experts from all over Europe. New Commons for Europe captures the vitality and the doubts of a new generation of architects living at a key moment in the history of the European Union and questioning the role of the profession and the architect's ability to produce projects and spaces for the common good with an alternative set of resources and profit structure. After the conference a series of interviews were conducted with participants in London, Berlin, Brussels, Paris, Lisbon and Bucharest. The book chronicles both the event and the interviews, which have developed into an ongoing European conversation between architectural figures that takes a new reading of the boundaries of the discipline and its interactions with political, economic and social factors.

For 40 years, the Skulptur Projekte Münster has been a unique engine for contemporary art.Held every ten years, its curatorial direction has been in the hands of Kasper König since its inception in 1977. International artists are invited to develop site-related works for Münster. The projects are as diverse as the artists themselves, going beyond the specific location to engage with global themes, contemporary notions of sculpture and ongoing questions relating to the public space in times of increasing digitization. The fifth edition of the Skulptur Projekte, opening in summer 2017, features 30 new artistic positions moving between sculpture, installation and performance art. This publication, produced in conjunction with the show, is a combination of exhibition catalog and guide, presented in a handy format. Seven essays, an extensive series of images and short texts provide information about the projects.

Scholars, artists and close colleagues of American artist Terry Fox (1943-2008) reflect on the artist's key role in art since the 1970s through his pioneering works of performance, video art and sound installation.

An imaginary institution merging research with graphic-design experiments to create a new theory of typographyThe Palace of Typographic Masonry, an institute dedicated to the wealth and diversity of graphic languages from Arabic to Zapotec, is the brainchild of Dutch graphic designer Richard Niessen (born 1972). An imaginary institution, the Palace brings together Niessen's graphic-design experiments and his research to create an interdisciplinary cultural history and new theory of typography.This book offers the reader a tour of an imaginary institution through 195 "exhibits" in Niessen's Palace of Typographic Masonry, organized as a progression through nine terms: sign, symbol, ornament, construction, play, poetics, dialogue, craft and order. As befits a tour of an imaginary institution devoted to graphic design, this spiral-bound publication is special, printed on perforated cardboard sheets.

Art criticism, reflexive fiction and institutional critique from Brian O'Doherty under a female pseudonym"Mary Josephson" is one of many pseudonyms of the New York-based art critic, conceptual artist and novelist Brian O'Doherty (born 1928), perhaps best known for his interrogation of the gallery space in the essays collected as Inside the White Cube. In tandem with writings and artworks signed as Patrick Ireland--a protest against British military occupation in Northern Ireland--O'Doherty wrote texts as Josephson from 1971 to 1973 while an editor at Art in America. Her name deriving from O'Doherty's middle and confirmation names (Mary and Joseph), the persona was a writing exercise that allowed the author, as he put it, to "free myself from limiting male selfhood, to substitute another voice for that inner voice that never stops speaking, that won't leave us alone." Collected here for the first time, the essays are fascinating combinations of art criticism, reflexive fiction and institutional critique.

Seiichi Furuya's Dresden photographs from 1984/85 are a most unlikely document -- a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private -- a young family in an intimate setting, their deep-seated anxieties and moments of happiness -- and it is more in passing that he records everyday life and society. His view from the outside, a stranger's way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.

Having entered the New York underground in the 1960s while still a teenager, filmmaker Barbara Rubin (1945-80) quickly became one of its key figures. Her pioneering 1963 double-projection film Christmas on Earth, featuring painted and masked performers engaging in a variety of gay and straight sexual acts, was both aesthetically innovative and sexually provocative. She worked regularly with Jonas Mekas and Andy Warhol, introduced Bob Dylan to Allen Ginsberg, and connected Warhol with The Velvet Underground. During an intense period of activity and travel, Rubin wrote passionate letters about film and the underground to Mekas.This special 80th issue of the magazine Film Culture features her previously unpublished letters to Mekas. It also includes interviews and Rubin's script, Christmas on Earth Continued, a planned sequel to her notorious film.